Emotion or pathos

The third element, emotion or pathos, is the right of any kind of design to be
considered a masterpiece. Certainly, a lot of designers treat their works as fine
arts and try to persuade their audience with the same idea. The main problem for
design is that designers expressing their emotions do not take into account the
values and desires of the ordinary audience. It is very often when objects of
everyday use become the objects of contemplation. For example, such a simple object
of everyday life as a chair may be a real masterpiece as for example, Frank Gehry’s
cross-check armchair of 1992, wiggle side chair of 1972, and beaver chair of 1986
(Ferebee, p. 179). Although all these chairs were created by one designer, their
design differs considerably. The designer used different approaches to the object
of real-life making it an art masterpiece. The art historian, Joshua Taylor, points
out, “To say that a line in a painting twist and turns is, of course, a highly
figurative statement. It does nothing of the sort. It is we who twist and turn
looking at it” (Buchanan, p 204). Some designers use the emotions of potential
customers that do not connect to technological reasoning or character. Many
designers base their work on popular beliefs about what is considered to be artful
and beautiful.

The use of three elements in modern designs

From the above said, we may conclude that all three elements of the design argument
are very important. Many designers combine all of them in their works so that
design is considered to be not only useful but aesthetic. Simple objects of our
life are presented like art masterpieces. These objects make our life easier, on
the one hand, and provide us with aesthetic delight, on the other hand.

Reference
Aristotle (n.d.). Ethos, Pathos and Logos. Web.

Buchanan, R. (n.d.). Declaration by Design: Rhetoric, Argument, and Demonstration

in Design Practice.